Andreas: The first episode of Révélations posthumes I made in 1977 and
these were published the year after in (A Suivre).
The contact with François Rivière
comes from that famous day when Jijé visited the Saint-Luc.
I had a drawing on (site-editor: in Dutch: schaafkarton), my first. That happened to be the only
one of which Jijé had said:""That's good! Look, that is good,
elegant..." Rivière was there as well. He was looking for someone
to do the cover of a Jules Verne book and approached me. Later I asked
him to write a story for me. I believe he didn't feel like it at first,
but I persisted, so eventually he came up with a text on H.P. Lovecraft.
After he had seen the first plates, he became more interested. At first we
worked for Métal Hurlant, for a Lovecraft special. But when I was
finished, Riviere told me: "Métal Hurlant isn't doing well these days,
they don't pay well. Maybe it would be better to go to
(A Suivre)." I must say I didn't feel good about this thing with
Métal Hurlant. That also led to some arguments. Later I understood that
it was really something for (A Suivre). They were looking exactly for
this mixture of comics and literature. After that we continued working for
them. Métal Hurlant was a lost case in all respects.

Andreas: The occasion for Cyrrus was a request of the
brothers Pasamonik if I could do an album for publisher
Magic-Strip. From that moment it started in my mind.
When later Dionnet (chief editor of Métal Hurlant)
saw the first plates of Cromwell Stone and asked me
to do something for Humanoïdes Associés, I already had something.

Andreas: I thought myself absolutely unfit for the level of
Métal Hurlant. There was a kind of aura around Métal Hurlant.
There had been so many things in it I admired. Furthermore
Humanoïdes made absolutely no limitations. I made Cyrrus
with a feeling of total freedom. It is kind of the reward for what
I did in Rork, without the limitations of Tintin/Hello BD (fr); Kuifje (nl). Not
that you hád to do Tintin-like things for Tintin, but you
couldn't do just anything either. Cromwell Stone
gave me the possibility to create Cyrrus in full freedom.
Making Cromwell Stone I didn't have the right state of mind,
for that I had left Tintin too shortly. With Cyrrus I
could really do what I wanted, without any concessions to the
reader. I a sense Cyrrus is thus the first real Andreas album,
in which I didn't feel influenced, like I was influenced
by H.P. Lovecraft in Cromwell Stone and Rork.

It's also the time of Dérives. This album appeared
only long after the stories were published in Métal Hurlant.
How did that go?

Andreas: The prepublication in Métal Hurlant was
interrupted after TouristeTouriste, the third story
of Dérives after a scenario of my German friend
Ferdinand Scholz. Later, when I was at Delcourt,
he said to me: "He, we could publish those short
stories you did for Métal." Then I added three more.